When listening in a room with multiple monitors such as these, there are many options and techniques that can be used depending on the needs of the recording engineer. The ADAM S2X monitors are very transparent and provide a realistic perspective of your mix. In the Fishtank recording studio, we pair those with our KRK 10" Sub to simulate the "wall of sound" and when switching to the other monitors the sub is removed. This makes them ideal for working with panning and depth in your mix as opposed to the other monitors in our studio. In comparison, the Genelec monitors have a more rounded frequency range and are used without the sub to provide a mix quality sound for referencing. These work great for mixing bass because you can check the presence of your mid range frequencies in a monitor where all the frequencies are combined and then switch back to your main speakers. We use the Yamaha NS-10 monitors to reference our mid and high range frequencies without the sub. These vintage monitors provide an ultra clear and present sound that is a bit harsh at first but very useful in hearing the subtle details of your source. I like to use these for referencing guitars, vocals, and overheads without the sub because they allow me to hear the full timbre of the instrument and determine which frequencies I want to adjust in my EQ. If I had to pick one of these pairs as my favorite, it would be the ADAM […]
CURRENT MOOD: Peoplewatch. Mixing engineer Paul Garcia working on final mixes for the Peoplewatch record 'Sideways,' which will be released on March 26th, 2016. Paul is using the UA 1176 Classic Limiting Amplifier Plug-ins in a serial chain. One with a slow release and another with a fast release. Depending on the source, either the fast or slow release 1176 is being used first in the chain. Before compressing the instrument bus, Paul sets a UA SSL E-Channel Strip. The "equaliserselect" button is a great way to get a different character out of the EQ without interrupting workflow. The onboard compressor on the E-Channel sounds great on rock guitars when the Ratio is set to 1, Threshold is set to -20, and the Release is set to .1. http://www.uaudio.com/store/compressors-limiters/1176-collection.html http://www.uaudio.com/store/channel-strips/ssl-e-series-channel-strip.html Come and create at our recording studio miami !
Recording brass can be a bit of an undertaking if one isn’t familiar with the process. Brass instruments (Trumpet, Sax, Tuba, Trombone) can have a massive large dynamic range, and can be very nuanced if the music at hand is jazz. When recording any of the instruments, there are a couple of things to take into account. Here’s a list of how to approach the session: What Genre is the Music being Recorded?: Will you be recording a slow jazz with a horn as a lead? A funk track with a brass section performing stabs? Its very important to take a second, and have the instrumentalist(s) play through the tune at hand to get a feel for the dynamic range, bursts (in the case of a funk stab), as well as, whether the player(s) have a tendency to move around. The distance, and direction of the mic will play a big part in how the sound is picked up. Each one of these factors will come into play when moving on to the next section: Microphone Choice: Condenser or Dynamic or Ribbon?: For me this question really depends on the answer to the first question. If the session is with experienced jazz musicians, more often than not, I will reach for a condenser, as it allows the expressivity of the player to come across much better. If this is the case, I will place the microphone at least 3 feet from the end of the player’s horn. […]